Sam Fender Stuns on Saturday from Live at Wythenshawe Park
- Darci Jackson
- Aug 18
- 5 min read
Updated: Sep 8
Words: Darci Jackson
Photos: Samantha Corcoran & Gracie Hall
Some studies say it takes 7 seconds to form a first impression. Our first impression of seeing Sam Fender was one of warmth and fondness, like that you’d feel for a sibling. Bringing his relatable Geordie ‘lad’ personality to the stage, with a touch of vulnerability too, it’s something quite special to have seen his rise from North Shields, journeying to the rest of country and playing for thousands of fans.
Making a return for more outdoor gigs, Live at Wythenshawe Park has been yet another raving success in what can only be described as an indie fan’s dream.
With Fontaines D.C. headlining the previous night, bringing their moody albeit colourful and spell-binding show to Wythenshawe Park, the contrast of Sam Fender’s raw emotion and rich melodies felt like the perfect contrast of light and dark. And with many fans travelling to both concerts (including us here at Dizzy Magazine), the contrast of the two artists worked in tandem to create an epic duo of outdoor gigs.
We’re still not over Blossoms playing at the park this time last year, more proof that Live at Wythenshawe Park is more than just a gig.
We weren’t quite ready to say goodbye to outdoor gigs just yet, and this felt like an idyllic send off before we are once again stood outside venues in the pitch black, rubbing our freezing hands together and watching our breath mist up in the air. Whilst we love both ends of the spectrum, there’s definitely one we’d prefer to be at the end of.
Flecks of brown licked at the leaves as a light breeze rustled through the trees. Having arrived by tram, the walk through the rest of the park on such a quaint summer’s evening was soundtracked by Devonshire support act Charlie Noordewier’s folk infused tones.
His brand new single Little Miss Sunshine was incredibly apt as the sun sank further towards the horizon, with Noordewier’s gentle and captivating voice.
Following Noordewier, a pink curtain adorned the back of the stage as Olivia Dean glided on to perform, opening with Nice To Each Other, taken from her upcoming second album The Art of Loving.
There’s something so revitalising about Dean, feeling as though we were stood in a glorified jazz club as she took took a swig and gave a cheers of her bottle of Corona from the table on stage next to her. She weaves in such complex and relatable emotions between layers of rich soul hugging lyrics, and we’re completely obsessed with her shaker in the shape of a banana.
As Fender’s third and most recent album is titled People Watching, it felt only right we did some people watching of our own. We have to mention the man holding up his hand in the shape of an ‘emu’ in order to find his friend, in what he described as a tried and tested pre-agreed method of communication. And well, it did work! His friend came through telling everyone who would listen that he’d seen the emu, and we may have to steal this idea for future gigs…
As the crowd (filled with countless Newcastle shirts) got more restless and the sky adopted an inky blue tone, the rumbling of AC/DC’s Thunder scattered across the sea of faces, as Fender and his band arrived.
After lighting up, the stage immediately went black as but a spotlight shone on Fender, opening with Angel in Lothian, taken from his second album Seventeen Going Under and the first time he has played it as an opener.
The surprised screams said it all, as fans far and wide recited every lyric back, creating a skin tingling atmosphere; a mere hint of the set that was to follow.
From that tranquility straight into the brutality and chaos of Spice, red lights dancing and flashing almost as if in warning, Fender’s ability to create these fictitious places such world’s apart is a testament to his attention to detail in his songwriting.
Inviting a fan on stage for The Borders, 16-year-old Noah was a spectacular addition to the jangly anecdotal song from first album Hypersonic Missiles. The rest of Fender’s band just add layer upon layer to the set, a myriad of little things you might not notice but that just make his songs what they are. It’s such a pleasure to watch them on stage, as Fender’s guitarist Dean Thompson (who he has been friends with since they were 12 years old), and (recent addition to the band) backing singer Brooke Bentham danced together during The Borders, seamlessly joining the old with the new to create a stage presence that just turns your mouth up at the corners.
With a little surprised smirk at the crowd singing his own lyrics back to him, Fender launched into Arm’s Length, the first song of the evening taken from People Watching. And it’s apparent that his third offering has been accepted as nothing short of a triumph.
As Fender progresses as an artist, it’s becoming all the more apparent of the influence from idol Bruce Springsteen, particularly in title track People Watching, from the harmonies and the delivery of the lyrics, almost like mantras. It felt as if at some point or other, we had all resonated with Fender’s lyrics as the sincerity of the delivery echoed across the crowd.
At points it almost felt as if we were prying on an intimate moment between Fender and his guitar as he stood underneath the spotlight bent over, concentrating on each note, revealing a vulnerability that felt special to witness.
Following on with Dead Boys, the Geordie creates this raw emotion, creating a lump in your throat that you don’t even feel arrive.
But Fender is straight back down to Earth, as he joked about needing to use the facilities halfway through.
‘I’ve drank so much water I feel like I’m going to burst!’
And when someone mentioned about there apparently being a toilet on stage, he added: ‘is that even legal?’
We love the honesty.
And before we even realised it had been taken down a notch, we were taken straight back up again with the roaring of ‘Get off the Metro, now!’ as Howdon Aldi Death Queue burst into life. Screaming guitars accompanied with a rainbow of flashing lights and a lick of the Geordie accent shining through, it’s two and a half minutes of pure pandemonium.
We’d like to take this opportunity to mention keyboard player Joe Atkinson, igniting the energy and keeping it in top form for the entire gig.
Witnessing Spit of You stood just behind a father holding his son in his arms whilst watching images of Fender and his father fade across the screen felt remarkably emotional, further proof of his prowess to create and soundtrack moments such as that.
As we hurtled towards the final notes of the evening, a sign asking for Angel in Lothian appeared, getting a chuckle from the stage.
‘You can put that down now else your arms will get tired, we played that one first!’ he joked.
Rounding the evening out with Seventeen Going Under and Hypersonic Missiles, a new lease of life erupted amongst the crowd. The gig was nothing short of a spectacle too, flames erupting during Tyrants along with fireworks and a burst of confetti too.
Hearing 26,000 people singing the melody of Hypersonic Missiles as Fender and his band watched on in silence was goosebump inducing.
The Geordie teased of new material next year, telling us: ‘I’m going to sort my shit out, get my voice sorted.’
And if he can continue to create memorable moments like the ones witnessed at Wythenshawe Park, we’re eager to see what lies ahead in his bright future.
